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Isolde (Sophia Myles) is the daughter of the Irish king, and Tristan (James Franco) the adopted son of the English leader Lord Marke (Rufus Sewell). Their parents are deadly enemies, but they fall in love, and then find themselves in a heartbreaking dilemma of no one’s deliberate devising. Their story is told in a muscular, realistic, surprisingly involving film that abandons the magic potions and other contrivances of early operatic and sword & sorcery versions. Muddier, earthier, more emotionally complex than most movies involving horses, castles, knights and secret passages.

Dame Judi Dench buys an old theater and Bob Hoskins manages it in a loving tribute to London’s Windmill, which presented vaudeville enlivened by “artistic tableaux” in which nude women posed. If they moved, the Lord Chamberlain (Christopher Guest) ruled, the show would be obscene; if they did not, they were art in the same sense as the nudes in the National Gallery. The theater’s great claim was, “We Never Closed,” and during the Blitz the bombs fell and so did the feather boas, as Mrs. Henderson offered her bit, and her girls their bits, for troop morale.

Queen Latifah stars in a comedy so warm and lovable it feels like a hug. She plays a New Orleans sales clerk and cooking expert who is given a month to live, and decides to cash in her retirement savings and fly to Karlovy Vary, in the Czech Republic, where her hero (Gerard Depardieu) is the cook at the grand hotel. As a mystery woman at the hotel, she fascinates a retain tycoon (Timothy Hutton), a senator (Giancarlo Esposito) and a possible romantic partner (LL Cool J). Directed by Wayne Wang (“The Joy Luck Club”), who takes a creaky plot and transforms it into light-hearted charm.

Based on the true story of the 1965-66 West Texas University basketball team, which broke with tradition by exceeding the informal limit on black players, and won the NCAA title with an all-black team. Josh Lucas plays coach Don Haskins, Derek Luke and Damaine Radcliff are his stars Bobby Joe Hill and Willie Cager, and Jon Voight has a compelling small role as the legendary Kentucky coach Adolph Rupp. Follows the rags-to-riches formula of many sports movies, but differs in that it’s not primarily concerned with sports but with racism. Be sure to watch through the end credits.

A French TV personality and his wife (Daniel Auteuil and Juliette Binoche) begin to receive anonymous videos which simply observe their home and lives. Who is sending them, and why? The fact that they are under observation drives a wedge between them and reopens events from years earlier. The film, which won best director honors for Michael Haneke at Cannes 2005, is, like “Picnic at Hanging Rock,” a mystery without a solution; an easily-overlooked conversation in the final shot seems to offer a clue, but to what?